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William Brymner (William Brymner), Mount Cheops from Rogers Pass (1899), The Robert McLaughlin Gallery. Fritatt for opphavsrett. Se dette lerretet i bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
William Brymner (William Brymner) topimpressionists.com/no/artists/william-brymner-william-brymner_no/
Kunstnerens levetid
1855 – 1925
Malt
1899
Opprinnelig størrelse
152 x 213 cm
Arrangert på
The Robert McLaughlin Gallery topimpressionists.com/no/museums/the-robert-mclaughlin-gallery-oshawa/

I sammenheng med

Mount Cheops from Rogers Pass — William Brymner (William Brymner)

Hvor stort er det?

Originalen måler 152 × 213 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910
  8. 1920

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 70 ved død.

Malt da kunstneren var 44. Kunstneren ble 70 år gammel. 6 av de 16 daterte verkene av denne kunstneren i vår katalog ble laget tidligere.

Skyggelagt: livsløpet til William Brymner (William Brymner) (1855–1925) ▲ dette verket, 1899 hvert daterte maleri, tiår for tiår

Tidlige verk: frem til 1892 Hovedvirksomhetsår: 1892–1910 Senere verk: fra 1910

Disse tre periodene deler verkene i denne katalogen inn i et første kvartal, en midtre halvdel og et siste kvartal. De utgjør ikke kunstnerens komplette produksjon: en tynn periode kan skyldes hull i dokumentasjonen snarere enn en rolig periode. De samme årene som utgjør kunstnerens liv er vevd inn i dem

Sammenlign med

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: topimpressionists.com/no/art/similar/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/

Farger

Målt ut fra bilde

    Dominerende farge

    Espresso #3c3b2c

    Katalogisert palett

    • #3C3B2C
    • #17140A
    • #BBC5CC
    • #71706C

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Hovedfarge
    Espresso
    Intensitet
    Monochromatic Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Statement Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Discordant Palette Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Shadow Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Muted Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Hvor i verden kan dette maleriet sees?

    • lavere enn 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og mer
    Dette maleriet alene har for få registrerte besøkende til å kunne kartlegges, så oversikten viser alle verk av William Brymner (William Brymner) i løpet av de siste tolv månedene — totalt 3 land. Kilde for disse tallene

    De ti ledende landene

    1. 1 Canada 45.5%
    2. 2 China 45.5%
    3. 3 United States of America 9.1%

    Finn de tre mørkeste landene på kartet. Ligger museet som huser dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.

    De 13 mest viste verkene av William Brymner (William Brymner)

    1. 1 Champ-de-Mars, Winter, 1892 20.0%
    2. 2 Summer Landscape, 1910 13.3%
    3. 3 In the Orchard (also known as Spring), 1892 6.7%
    4. 4 The Weaver, 1885 6.7%
    5. 5 Frontenac Receiving Sir William Philip's Envoy, 1911 6.7%
    6. 6 Summer Landscape, 1905 6.7%
    7. 7 Early Moonrise in September (sketch), 1896 6.7%
    8. 8 Yale in the Morning, B.C. (also known as Fraser Canyon), 1886 6.7%
    9. 9 A Wreath of Flowers, 1884 6.7%
    10. 10 October, River Beaudet, 1914 6.7%
    11. 11 Haying near Quegec, Beaupré, 1907 6.7%
    12. 12 Harvesting, Sainte-Famille, 1903 6.7%
    13. — Mount Cheops from Rogers Pass, 1899 dette maleriet 0.0%

    Sammen utgjør disse verkene 100.0% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 16 verk av denne kunstneren, hvorav 12 ble sett på minst én gang. Dette maleriet har ennå ikke blitt vist i denne perioden – det avslutter listen uten en rangering. Det samme gjelder, måned for måned

    Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt, utover hvor godt det er malt.

    Kunstner og museum

    Kunstner

    William Brymner (William Brymner)

    Født i Greenock, Storbritannia

    A Pioneer Forging a Canadian Vision

    William Brymner, born in Greenock, Scotland in 1855, stands as a pivotal figure in the development of Canadian art—a bridge between the established traditions of academic painting and the burgeoning currents of modernism. His life’s journey, marked by both rigorous training and an adventurous spirit, ultimately shaped a uniquely Canadian artistic identity. The Brymner family's emigration to Melbourne, Lower Canada (present-day Quebec) in 1857, and their subsequent move to Montreal in 1864, planted the seeds of his connection to the land that would become central to his artistic vision. Initially drawn to architecture, a practical pursuit reflecting his father’s stable career as Dominion Archivist, Brymner soon discovered his true calling lay within the realm of painting. This pivotal shift led him to Paris in 1878, where he enrolled at the prestigious Académie Julian, immersing himself in the world of fine art under the tutelage of William-Adolphe Bouguereau and Tony Robert-Fleury. These masters, renowned for their ‘grand manner’ naturalism, instilled in Brymner a foundation of technical skill and compositional understanding that would remain with him throughout his career.

    Parisian Influences and Artistic Development

    The Parisian art scene proved transformative for the young artist. While mastering academic techniques—particularly Bouguereau's meticulous realism—Brymner simultaneously absorbed the influence of Jean-Louis Ernest Meissonier, whose detailed depictions of historical subjects captivated him. He deliberately rejected grand narratives and mythological themes, instead focusing on intimate domestic scenes and evocative landscapes—a conscious decision to portray the world around him with honesty and sensitivity. This period witnessed Brymner skillfully balancing academic rigor with the emerging Impressionistic tendencies dominating the artistic landscape. His style began to evolve, demonstrating a growing awareness of light’s subtle nuances and its ability to shape perception. Pieces like “Two Girls Reading” (1898) exemplify this early mastery, showcasing his capacity to capture fleeting moments and imbue them with quiet emotion. He wasn't merely replicating what he saw; he was interpreting it through a lens informed by both tradition and innovation. Brymner’s dedication to capturing the atmosphere of Quebec landscapes—particularly Ile aux Coudres—became a hallmark of his oeuvre, reflecting his profound connection to Canadian soil.

    Returning to Canada: Teacher and Innovator

    In 1886, Brymner returned to Montreal after nearly seven years of intermittent residence in Paris, establishing himself as a prominent art teacher and significantly impacting the next generation of Canadian artists. He became Director of the Art Association of Montreal school from 1886 to 1921, fostering an environment that encouraged experimentation and challenged conventional artistic norms. His influence extended far beyond his individual canvases; he championed the principles of Impressionism and Naturalism within Canada’s burgeoning art community. Brymner's students—including Emily Coonan—embraced these innovative approaches, furthering the development of Canadian Modernism. He tirelessly promoted a new vision for Canadian art—one that prioritized observation and emotional resonance over rigid stylistic conventions.

    Major Works & Continued Influence

    Brymner’s artistic legacy is cemented by his celebrated paintings such as “Frontenac Receiving Sir William Philip's Envoy,” which skillfully blends historical accuracy with atmospheric Impressionism. Similarly, "Summer Landscape" captures the beauty of Quebec’s natural environment with remarkable sensitivity to light and color. His meticulous attention to detail—evident in works like “The Weaver”—demonstrates his unwavering commitment to capturing the essence of everyday life. Brymner's contribution to Canadian art history is undeniable; he helped establish a uniquely Canadian artistic identity—one that honored European traditions while embracing the spirit of innovation. He remains an inspiration for artists today, reminding us of the importance of pursuing one’s passions and forging a distinctive creative path. His unwavering belief in artistic freedom ensured that his vision endured beyond his lifetime.

    A Lasting Legacy

    Brymner's impact on Canadian art history is profound—he fostered a movement rooted in observation and emotion, shaping the artistic landscape of Quebec and cementing his place as one of Canada’s most important artists. He was recognized by the Royal Canadian Academy of Arts (RCA) with the Companion of the Order of St Michael and St George in 1916, acknowledging his dedication to promoting Canadian talent and furthering artistic excellence. William Brymner's enduring influence continues to inspire artists today—a testament to his pioneering spirit and his unwavering commitment to forging a uniquely Canadian artistic vision.

    Museum

    The Robert McLaughlin Gallery

    Utstilt i Oshawa, Canada

    A Sanctuary of Light and Line

    Nestled within the vibrant pulse of Downtown Oshawa, Ontario,

    The Robert McLaughlin Gallery

    stands as a luminous beacon for the Canadian spirit, offering a profound sanctuary where modernism meets memory. To step into this institution is to enter a carefully curated dialogue between the earth and the ether, a place where the heavy weight of history is lifted by the soaring, light-filled expansiveness of its design. The architectural presence of the gallery is, in itself, a masterpiece of modernist principle. Designed by the legendary Canadian architect

    Arthur Erickson

    , the building serves as a structural poem that mirrors the artistic ethos found within its walls. Erickson’s vision prioritizes an organic connection to the surrounding urban landscape, utilizing expansive windows that flood the interior with natural light. This intentional luminosity does more than illuminate; it breathes life into the canvases, mirroring the brilliance and depth found in many of the gallery's most celebrated works.

    For the interior designer or lover of fine spaces, the gallery offers a masterclass in how architecture can act as a silent collaborator to art, creating an environment that is simultaneously invigorating and deeply contemplative. The space serves as a bridge between the industrial heritage of the region and the ethereal beauty of abstract form, making it a vital destination for those who seek inspiration in the intersection of structure and soul.

    The Pulse of Abstract Expressionism

    At the heart of the gallery’s identity lies an unparalleled devotion to

    Abstract Expressionism

    . This singular focus is inextricably linked to the pioneering legacy of

    Alexandra Luke

    , a visionary whose advocacy for abstract forms irrevocably altered the trajectory of Canadian art history. The gallery holds the distinction of housing the largest collection of works by the

    Painters Eleven

    in Canada, a group of rebels and innovators who sought to break free from representational constraints to explore pure emotion, form, and texture. To wander through these collections is to encounter monumental works that pulse with energy, offering profound insights into a collective movement that redefined how we perceive the canvas.

    The collection's depth is matched by its diversity, featuring a wide array of artistic expressions including:

    Canadian Paintings:

    A vast panorama of works spanning various periods of national importance.

    Sculpture and Printmaking:

    Tactile explorations of materiality and process that complement the painted works.

    Archives:

    Significant historical records related to the Painters Eleven, preserving the very origins of the movement.

    Beyond its permanent treasures, which number over 4,500 diverse pieces, the gallery remains a living, breathing entity through its commitment to groundbreaking exhibitions and community engagement. It consistently pushes boundaries, presenting shows that traverse themes from the intricate nuances of Indigenous storytelling to the cutting-edge pulse of contemporary trends. Whether one is drawn by the historical weight of the McLaughlin legacy or the raw, unbridled power of modern Canadian creativity, the gallery offers an enduring journey through the heart of Canadian expression.

    Les mer her

    Se mer på nett

    QR-kode som lenker til nedlastingssiden for Mount Cheops from Rogers Pass

    topimpressionists.com/no/art/download/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/

    Kildehenvisning for dette kunstverket

    MLA
    Brymner), William Brymner (William. Mount Cheops from Rogers Pass. 1899, The Robert McLaughlin Gallery. https://topimpressionists.com/no/art/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/
    APA
    Brymner), William Brymner (William (1899). Mount Cheops from Rogers Pass [Painting]. The Robert McLaughlin Gallery. https://topimpressionists.com/no/art/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/
    Chicago
    William Brymner (William Brymner). Mount Cheops from Rogers Pass. 1899. The Robert McLaughlin Gallery. https://topimpressionists.com/no/art/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/
    Harvard
    Brymner), William Brymner (William (1899) Mount Cheops from Rogers Pass. The Robert McLaughlin Gallery. Available at: https://topimpressionists.com/no/art/william-brymner-mount-cheops-from-rogers-pass-D9LF8J-en/

    Se nærmere på

    Mount Cheops from Rogers Pass — William Brymner (William Brymner)

    Se nærmere etter

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Se tilbake på In the Orchard (also known as Spring) (1892), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    4. William Brymner (William Brymner) var omtrent 44 da dette ble laget. Hva i verket bærer preg av å være skapt av en kunstner i den fasen?
    5. Hva kan kunstneren ha ønsket at du skulle føle?

    Ditt svar

    Skriv et kort avsnitt om dette kunstverket. Bruk informasjonen fra de tidligere delene av denne guiden og svarene dine ovenfor.

    Spørsmål og svar

    Hvilke proporsjoner har "Mount Cheops from Rogers Pass" av William Brymner (William Brymner), og hva er målene?

    "Mount Cheops from Rogers Pass" av William Brymner (William Brymner) har proporsjonene til et Landscape-verk på 152 x 213 cm.

    Hvor mange ser på "Mount Cheops from Rogers Pass"?

    Statistikk for "Mount Cheops from Rogers Pass" av William Brymner (William Brymner) finnes på verkets Besøksstatistikk-side: månedlige visninger av verket, visninger av kunstnerens andre verk, samt en oversikt over nylige besøkende fordelt på land og språk.

    Er fargene i "Mount Cheops from Rogers Pass" av William Brymner (William Brymner) mettede eller dempede?

    "Mount Cheops from Rogers Pass" av William Brymner (William Brymner) er gjengitt med en Muted metning.